Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Kuwait and from Shanghai.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1960 to 1977.
I'm losing my edge.
To all the kids in Lille and Bologna.
I'm losing my edge to the art-school New York kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1968 at the first Can practice in a loft in Cologne.
I was working on the chamberlin sounds with much patience.
I was there when Tom Verlaine started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Supertramp to the crunk kids.
I played it at the Roxy.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Harpers Bizarre. All the underground hits.
All Peter Gordon & Love of Life Orchestra tracks. I heard you have a vinyl of every Lightning Bolt record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a guitar and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Youth Brigade record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tim Buckley,
the Slits,
The Fortunes,
Barbara Tucker,
Leonard Cohen,
Avey Tare's Slasher Flicks,
Simply Red,
Maurizio,
Delon & Dalcan,
The Blackbyrds,
The Mummies,
Eli Mardock,
Harry Pussy,
Jeff Mills,
Ludus,
The Motions,
Yaz,
Kayak,
Aaron Thompson,
D'Angelo,
Red Lorry Yellow Lorry,
Captain Beefheart & His Magic Band,
Surgeon,
Quantec,
Magazine,
The West Coast Pop Art Experimental Band,
MDC,
Isaac Hayes,
Animal Collective,
The United States of America,
the Association,
Wally Richardson,
Notorious BIG live in Amsterdam,
Deutsch Amerikanische Freundschaft,
Saccharine Trust,
Metal Thangz,
The Zeros,
Avey Tare,
Stockholm Monsters,
Aural Exciters,
Black Flag,
Pole,
Mars,
The Doobie Brothers,
cv313,
The Buckinghams,
Michelle Simonal,
Scion,
Visionaries,LMNO, T- Love & Iriscience,
The Index,
Don Cherry,
Khruangbin,
The Residents,
Funky Four + One,
The Martian,
The Victims,
The Skatalites,
Urselle,
Lyres,
Lindisfarne,
Con Funk Shun,
Bob Dylan, Bob Dylan, Bob Dylan, Bob Dylan.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.